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With Fondest Regards
From the moment the success of Bonjour Tristesse catapulted her into worldwide fame, Francoise Sagan has remained a favorite subject of international conversation. Her literary reputation, celebrity friends, and fast-living habits long guaranteed her a spot in the social columns. Yet she remained a very private person and none but her close friends were allowed a glimpse into her inner life.
Now for the first time Sagan has opened the book on that life, writing about some of the famous people she has known and about herself. There are tributes to Billie Holiday, Jean-Paul Sartre; revealing cameos of Orson Welles, Rudolf Nureyev, Carson McCullers; a wistful evocation of Tennessee Williams. There are episodes from a life led on the brink: tales of all-night gambling and fast cars: a hilarious account of the author's adventures in the theatre: a nostalgic memoir of Saint Tropez when it was still just a fishing village: and brief essays on games of chance and the gifts of literature. With Fondest Regards is a seamless series of anecdotes that resound with generosity and brio, a literary entertainment about life among the privileged, the creative and the famous. And because it is also a work of love it is a book that we want never to end.
Now for the first time Sagan has opened the book on that life, writing about some of the famous people she has known and about herself. There are tributes to Billie Holiday, Jean-Paul Sartre; revealing cameos of Orson Welles, Rudolf Nureyev, Carson McCullers; a wistful evocation of Tennessee Williams. There are episodes from a life led on the brink: tales of all-night gambling and fast cars: a hilarious account of the author's adventures in the theatre: a nostalgic memoir of Saint Tropez when it was still just a fishing village: and brief essays on games of chance and the gifts of literature. With Fondest Regards is a seamless series of anecdotes that resound with generosity and brio, a literary entertainment about life among the privileged, the creative and the famous. And because it is also a work of love it is a book that we want never to end.
176 pages, Hardcover
First published March 21, 1984
19 people are currently reading
475 people want to read
About the author
Françoise Sagan
250 books1,659 followersBorn Françoise Quoirez, Sagan grew up in a French Catholic, bourgeois family. She was an independent thinker and avid reader as a young girl, and upon failing her examinations for continuing at the Sorbonne, she became a writer.
She went to her family's home in the south of France and wrote her first novel, Bonjour Tristesse, at age 18. She submitted it to Editions Juillard in January 1954 and it was published that March. Later that year, She won the Prix des Critiques for Bonjour Tristesse.
She chose "Sagan" as her pen name because she liked the sound of it and also liked the reference to the Prince and Princesse de Sagan, 19th century Parisians, who are said to be the basis of some of Marcel Proust's characters.
She was known for her love of drinking, gambling, and fast driving. Her habit of driving fast was moderated after a serious car accident in 1957 involving her Aston Martin while she was living in Milly, France.
Sagan was twice married and divorced, and subsequently maintained several long-term lesbian relationships. First married in 1958 to Guy Schoeller, a publisher, they divorced in 1960, and she was then married to Robert James Westhoff, an American ceramicist and sculptor, from 1962 to 63. She had one son, Denis, from her second marriage.
She won the Prix de Monaco in 1984 in recognition of all of her work.
She went to her family's home in the south of France and wrote her first novel, Bonjour Tristesse, at age 18. She submitted it to Editions Juillard in January 1954 and it was published that March. Later that year, She won the Prix des Critiques for Bonjour Tristesse.
She chose "Sagan" as her pen name because she liked the sound of it and also liked the reference to the Prince and Princesse de Sagan, 19th century Parisians, who are said to be the basis of some of Marcel Proust's characters.
She was known for her love of drinking, gambling, and fast driving. Her habit of driving fast was moderated after a serious car accident in 1957 involving her Aston Martin while she was living in Milly, France.
Sagan was twice married and divorced, and subsequently maintained several long-term lesbian relationships. First married in 1958 to Guy Schoeller, a publisher, they divorced in 1960, and she was then married to Robert James Westhoff, an American ceramicist and sculptor, from 1962 to 63. She had one son, Denis, from her second marriage.
She won the Prix de Monaco in 1984 in recognition of all of her work.
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June 6, 2020
مع أطيب ذكرياتي.....فرانسواز ساغان
ت: عباس المفرجي
إذا أردت يومًا أن اكتب سيرة ذاتية، فأغلب الظن أن ما كتبته فرنسواز ساغان في سيرتها سيكون المثال الأوضح لي، أن اختار لحظات الراحة والسعادة في حياتي واكتبها كمحطات مركزية وارسمها بورتريهات مكتوبة، استعيد بها سعادتي، وإذا سألني أحد عن أفضل كتب السيرة فغالبا سوف أذكر هذه السيرة من بينهم.
فرنسواز ساغان التي أحدثت ضجة في فرنسا الخمسينات بروايتها الصاخبة والمهمة صباح الخير أيها الحزن، كانت مضطرة أن تتعايش ككاتبة مهمة، فاختلطت بأرفع الشخصيات وربطتها صداقة مه سارتر وأورسن ويلز ووتنيسي ويليامز وغيرهم من رموز الثقافة العالمية، فسجلت كل ذكرياتها السعيدة في فصول قصيرة، ترسم بها ليس فقط صورة لحياتها بل ترسم صورة للحياة وشكلها خلال النصف الثاني من القرن العشرين، كل ذلك عبر بورتريهات لما صادفته وصادقته خلال حياتها.
في هذه المذكرات فصل عن ادمانها للقمار، وبحق فإن هذا الفصل من أعمق ما قرأت عن هذا الداء اللعين، ولكن ساغان كانت تمارسه بحب، كما تمارس قيادة سيارة الفيراري بحب ايضا، فبجانب حبها الشديد للقمار، كانت محبة بشدة للسرعة وما يمثلها.
قد يكون أفضل مافي هذه السيرة هي البساطة، بساطة الحكي والكتابة، كل شيء واضح ومباشر، نحن أمام إمرأة عاشت الحياة كما أرادت لها، تسافر وتحب وتصادق وتلعب، خرجت من الرداء المجتمعي وانطلقت لترسم لوحة عن حياتها، ونعرف أيضا لماذا اعتبرت من أعظم الكاتبات في القرن العشرين.
ت: عباس المفرجي
إذا أردت يومًا أن اكتب سيرة ذاتية، فأغلب الظن أن ما كتبته فرنسواز ساغان في سيرتها سيكون المثال الأوضح لي، أن اختار لحظات الراحة والسعادة في حياتي واكتبها كمحطات مركزية وارسمها بورتريهات مكتوبة، استعيد بها سعادتي، وإذا سألني أحد عن أفضل كتب السيرة فغالبا سوف أذكر هذه السيرة من بينهم.
فرنسواز ساغان التي أحدثت ضجة في فرنسا الخمسينات بروايتها الصاخبة والمهمة صباح الخير أيها الحزن، كانت مضطرة أن تتعايش ككاتبة مهمة، فاختلطت بأرفع الشخصيات وربطتها صداقة مه سارتر وأورسن ويلز ووتنيسي ويليامز وغيرهم من رموز الثقافة العالمية، فسجلت كل ذكرياتها السعيدة في فصول قصيرة، ترسم بها ليس فقط صورة لحياتها بل ترسم صورة للحياة وشكلها خلال النصف الثاني من القرن العشرين، كل ذلك عبر بورتريهات لما صادفته وصادقته خلال حياتها.
في هذه المذكرات فصل عن ادمانها للقمار، وبحق فإن هذا الفصل من أعمق ما قرأت عن هذا الداء اللعين، ولكن ساغان كانت تمارسه بحب، كما تمارس قيادة سيارة الفيراري بحب ايضا، فبجانب حبها الشديد للقمار، كانت محبة بشدة للسرعة وما يمثلها.
قد يكون أفضل مافي هذه السيرة هي البساطة، بساطة الحكي والكتابة، كل شيء واضح ومباشر، نحن أمام إمرأة عاشت الحياة كما أرادت لها، تسافر وتحب وتصادق وتلعب، خرجت من الرداء المجتمعي وانطلقت لترسم لوحة عن حياتها، ونعرف أيضا لماذا اعتبرت من أعظم الكاتبات في القرن العشرين.
March 9, 2020
..šajā grāmatā Sagāna runā par lietām, kas viņai tīk, un, lai gan dažas no tām mani pilnīgi nesaista (piemēram, auto un azartspēles), grāmata ir gana jauka un baudāma. un tā kā izstādē tiku pats pie sava eksemplāra, izlasīju to vēlreiz :)
October 10, 2015
Really a series of essays on Sagan's celebrity friends (a diverse bunch indeed, hobbies(fast driving and gambling)and also a lament for Saint Tropez. Love her writing and her savoir faire. The final essay on "Reading" should be required reading!
October 18, 2020
Sagan is one of the few authors whose work I relish without a sense of urgency. Her words are sweetness melting on the tongue, deep happiness entrenched in a slight acidity, which tells a life lived to its fullest, even in unhappier times. Her words are beautiful, the pace leisurely and with a tone of humor, her descriptions and metaphors lacing together - fragments of one's childhood and the absent details of daily life - weaving a nostalgia so acute yet dreamy, like a life one never lived.
She lives by her emotions, experiencing them profoundly; owns a charismatic spirit of freedom and joy, a charming callousness that stirs youthful follies, but in a way that bridges sentimentality with one's deepest realizations of the self, moments of clarity; Catharsis - that is her gift to the reader - eyes sharpened, ears keen, and heart once more open to passion.
In her words I read a self that is desperate to love life, that enjoys the most insignificant moments with the marrow of one's bones; In her writing I read a self that is sincere and stubborn without failing to be kind, a self enwrapped with comforts of social life and lively conversation, a self seeking adventure and infinite beauty, without fear of letting go - or death.
At the end of the chapter titled Saint Tropez, she writes: "The sunlight was there, right in my palms; I had reached out mechanically towards the sunshine, but did not attempt to grasp at it. Just as how people should not attempt to hinder the passing of time or love, one should not try to preserve sunshine or life." (my translation of the Chinese translation)
The portrait of Sagan, as I imagine through her words, is an image of what it means to be a woman, embracing both the mischief of femininity and the stubbornness of freedom which wells one's soul and will drown the heart if its waters are denied a path of action.
She lives by her emotions, experiencing them profoundly; owns a charismatic spirit of freedom and joy, a charming callousness that stirs youthful follies, but in a way that bridges sentimentality with one's deepest realizations of the self, moments of clarity; Catharsis - that is her gift to the reader - eyes sharpened, ears keen, and heart once more open to passion.
In her words I read a self that is desperate to love life, that enjoys the most insignificant moments with the marrow of one's bones; In her writing I read a self that is sincere and stubborn without failing to be kind, a self enwrapped with comforts of social life and lively conversation, a self seeking adventure and infinite beauty, without fear of letting go - or death.
At the end of the chapter titled Saint Tropez, she writes: "The sunlight was there, right in my palms; I had reached out mechanically towards the sunshine, but did not attempt to grasp at it. Just as how people should not attempt to hinder the passing of time or love, one should not try to preserve sunshine or life." (my translation of the Chinese translation)
The portrait of Sagan, as I imagine through her words, is an image of what it means to be a woman, embracing both the mischief of femininity and the stubbornness of freedom which wells one's soul and will drown the heart if its waters are denied a path of action.
August 17, 2019
Fransuāzas Sagānas rakstītie atmiņu stāsti ir tik bagātīgi ar pašas autores domām, emocijām, iekšējo brīvību, bērnišķīgu sajūsmu, personīgu līdzpārdzīvojumu un dzīves aizrautību.
Cik labi, ka reizēm arī paši rakstnieki raksta par sevi, par sev tik dārgiem un neatņemamiem dzīves gabaliņiem un liktenīgiem cilvēkiem blakus - jo tad viss ir pa īstam - īsti notikumi ar īstām emocijām!
"Billija Holideja": "Vai tā bija mana apbrīna vai manu atmiņu spēks, ka es uzskatīju viņu par apbrīnojamu, neraugoties uz šī vārgā solokoncerta briesmīgo un smieklīgo nepilnību. Viņa, acis nodūrusi, dziedāja, izlaida kuplejas, ar grūtībām ievilka elpu. Viņa turējās pie klavierēm kā bangojoša jūra pie margām. Ļaudis šurp bija nākuši, bez šaubām, ar to pašu noskaņojumu kā es, tie vētraini aplaudēja, kas lika viņai uzlūkot tos ar vienlaikus ironisku un iežēlinātu skatienu, īstenībā nežēlīgu skatienu uz sevi pašu".
"Spēle": "Pēc desmit piepūles un nervu sasprindzinājuma dienām man bija izdevies zaudēt tikai 300 franku! Kāda laime! Šis secinājums var šķist smieklīgs, es to zinu, bet, vēlreiz atkārtoju, šis stāsts bija atvēlēts vienīgi spēlmaņu acīm".
"Tenesijs Viljamss": "Un es nezinu, kā tu esi miris, mans nabaga dzejniek. Es nezinu, kādus sarūgtinājumus tev sagādāja Ņujorka pirms, pēc vai kopš tā laika, ja tu nonāci pie tā, ka vēlies šo dīvaino nāvi agrā rītā tavā atvērtajā mājā, un ja tu pats biji tās cēlonis vai ja tu domāji mierīgi aizbraukt uz dažām dienām uz šo varbūt ieķīlāto Floridas māju ar tavu jūru, tavu pludmali, tavu tumšo nakti, taviem draugiem, tavu papīru - šī baltā papīra drāmu - tavu istabu - šo istabu, kur tu pēcpusdienā iekārtojies ar vai bez pudeles un no kuras vēlāk iznāci trausls, jauns, atbrīvots, triumfējošs, nu ko, tiešām dzejnieks. Man tevis pietrūkst, dzejniek! Un es baidos, ka šis sarūgtinājums turpināsies vēl ilgu laiku".
"Ātrums": "Tāpat kā sports tas pievienojas spēlei, kļūst par nejaušību, ātrums pievienojas dzīves baudai un līdz ar to juceklīgām cerībām mirt, kas vienmēr ir klāt šajā dzīves baudā. Tur ir viss, ko es galu galā uzskatu par īstu, - ātrums nav nedz zīme, nedz pierādījums, nedz provokācija, nedz izaicinājums, tas ir laimes dziņa".
"Orsons Velss": "Kā apburta es skatījos uz viņu. Neviens šai pasaulē, es domāju, nevar radīt tik lielu ģēnija sajūtu, viņā ir kaut kas tik ļoti liels, dzīvs, fatāls, galīgs, cinisks un kaislīgs. ... Es nesapratu, kāpēc amerikāņi nekrīt viņam pie kājām ar līgumiem vai franču producenti, par kuriem tajā laikā teica, ka tie ir tik izslāpuši pēc riska, neskrien uz Anglijas laukiem viņu sameklēt. ... Nekad nevarēs uzņemt filmu par Velsu, vismaz es tā ceru, tāpēc, ka nevienam pasaulē nebūs viņa vēriena, viņa sejas un, galvenais, šī nekad neatmaigušā spožuma acīs - ģēnija spožuma".
"Teātris": "Kā katru reizi šādos gadījumos kādas divas nedēļas es jautri svilpoju - neveiksme teātrī man katrā ziņā ir daudz stimulējošāka nekā panākumi. ... Un trīs piepūles, satraukuma, soļu trokšņa, pārdomu, īstenībā darba mēnešus pārvērst par neko pusotras stundas izrādē, tajā ir kaut kas varonīgs, traks, netaisnīgs, romantisks, īsi sakot, kaut kas tāds, kā dēļ, lai kas notiktu, es nepratīšu atteikties no kazino tāpat kā nepratīšu atteikties no teātra".
"Rūdolfs Nurejevs": "Bet, ja man būtu jāmeklē definīcija šim cilvēkam vai, precīzāk, jāatrod poza, kas manās acīs ir viņa definīcija, simboliska poza, es neatradīšu neko labāku par šo: puskails vīrietis baleta triko, vientuļš un skaists, pacēlies uz pirkstgaliem, ar piesardzīgu un sajūsminātu skatienu aplūko savas Mākslas atspulgu blāvā spogulī".
"Sentropē": "... tieši tāpat pirms nedēļas jaukā rītā Parīzē es piecēlos no gultas vai, drīzāk, tādā pašā rītā kā citi, kad līst lietus un līst atkal un atkal, kad garāmgājēji izskatās sataukti, vīlušies un izbijušies, rītā, kad pilsēta ir nogurusi un debesis atrodas kaut kur citur, rītā, kad es metos bēgt, kā esmu paradusi, - uz jūru, uz Sentropē. ... Un tomēr es jums par to izstāstīšu traģikomēdiju, kādu veidojušas, veido un veidos manas, bez šaubām, sentimentālās attiecības ar mierīgo ciemu Sentropē Vāras departamentā, un es jums to stāstīšu vairākos cēlienos, vairākās ainās, kuru skaitu iepriekš es nespēju paredzēt, jo atmiņai piemīt tikpat daudz trakulību un neparedzamību, cik izdomai. Es negarantēju nedz pilnīgu objektivitāti, nedz pilnīgu ticamību faktiem, kas sekos, varu garantēt tikai manu šodienas patiesumu. ... Sentropē ir pilsēta vai varbūt ciemats, kas izraisa sapņošanu, neprātu - maigu vai arī ne, katrā ziņā neko tādu - nepārprotami un tūlīt - neizraisa neviena cita vieta pasaulē".
"Mīlestības vēstule Žanam Polam Sartram": "Jūs esat sarakstījis savas paaudzes gudrākās un godīgākās grāmatas, Jūs pat uzrakstījāt vistalantīgāko franču literatūras darbu "Vārdi". Turklāt Jūs, galvu pieliecis, vienmēr esat meties glābt vājos un pazemotos, Jūs esat ticējis cilvēkiem, iemesliem, vispārējiem jēdzieniem, dažkārt Jūs esat maldījies (kā visi), bet (pretēji visiem) Jūs katru reizi esat to atzinis. Jūs spītīgi atteicāties no visiem Jūsu slavas morālajiem lauriem un materiālajiem labumiem. Jūs atteicāties no visnotaļ pagodinošās Nobela prēmijas laikā, kad Jums daudz kā trūka".
"Lasīšana": "Mīlestība uz literatūru manā atmiņu secībā ir pārāka par mīlestību uz cilvēku. ... Es ļoti labi zinu, kurā vietā es lasīju, kur es atklāju savas dzīves lielās grāmatas; un šeit es rakstīšu par savas dzīves ārējām ainavām, kas tik sarežģīti saistītas ar manām iekšējām ainavām. Galvenokārt tie ir manu pusaudža gadu iespaidi".
Cik labi, ka reizēm arī paši rakstnieki raksta par sevi, par sev tik dārgiem un neatņemamiem dzīves gabaliņiem un liktenīgiem cilvēkiem blakus - jo tad viss ir pa īstam - īsti notikumi ar īstām emocijām!
"Billija Holideja": "Vai tā bija mana apbrīna vai manu atmiņu spēks, ka es uzskatīju viņu par apbrīnojamu, neraugoties uz šī vārgā solokoncerta briesmīgo un smieklīgo nepilnību. Viņa, acis nodūrusi, dziedāja, izlaida kuplejas, ar grūtībām ievilka elpu. Viņa turējās pie klavierēm kā bangojoša jūra pie margām. Ļaudis šurp bija nākuši, bez šaubām, ar to pašu noskaņojumu kā es, tie vētraini aplaudēja, kas lika viņai uzlūkot tos ar vienlaikus ironisku un iežēlinātu skatienu, īstenībā nežēlīgu skatienu uz sevi pašu".
"Spēle": "Pēc desmit piepūles un nervu sasprindzinājuma dienām man bija izdevies zaudēt tikai 300 franku! Kāda laime! Šis secinājums var šķist smieklīgs, es to zinu, bet, vēlreiz atkārtoju, šis stāsts bija atvēlēts vienīgi spēlmaņu acīm".
"Tenesijs Viljamss": "Un es nezinu, kā tu esi miris, mans nabaga dzejniek. Es nezinu, kādus sarūgtinājumus tev sagādāja Ņujorka pirms, pēc vai kopš tā laika, ja tu nonāci pie tā, ka vēlies šo dīvaino nāvi agrā rītā tavā atvērtajā mājā, un ja tu pats biji tās cēlonis vai ja tu domāji mierīgi aizbraukt uz dažām dienām uz šo varbūt ieķīlāto Floridas māju ar tavu jūru, tavu pludmali, tavu tumšo nakti, taviem draugiem, tavu papīru - šī baltā papīra drāmu - tavu istabu - šo istabu, kur tu pēcpusdienā iekārtojies ar vai bez pudeles un no kuras vēlāk iznāci trausls, jauns, atbrīvots, triumfējošs, nu ko, tiešām dzejnieks. Man tevis pietrūkst, dzejniek! Un es baidos, ka šis sarūgtinājums turpināsies vēl ilgu laiku".
"Ātrums": "Tāpat kā sports tas pievienojas spēlei, kļūst par nejaušību, ātrums pievienojas dzīves baudai un līdz ar to juceklīgām cerībām mirt, kas vienmēr ir klāt šajā dzīves baudā. Tur ir viss, ko es galu galā uzskatu par īstu, - ātrums nav nedz zīme, nedz pierādījums, nedz provokācija, nedz izaicinājums, tas ir laimes dziņa".
"Orsons Velss": "Kā apburta es skatījos uz viņu. Neviens šai pasaulē, es domāju, nevar radīt tik lielu ģēnija sajūtu, viņā ir kaut kas tik ļoti liels, dzīvs, fatāls, galīgs, cinisks un kaislīgs. ... Es nesapratu, kāpēc amerikāņi nekrīt viņam pie kājām ar līgumiem vai franču producenti, par kuriem tajā laikā teica, ka tie ir tik izslāpuši pēc riska, neskrien uz Anglijas laukiem viņu sameklēt. ... Nekad nevarēs uzņemt filmu par Velsu, vismaz es tā ceru, tāpēc, ka nevienam pasaulē nebūs viņa vēriena, viņa sejas un, galvenais, šī nekad neatmaigušā spožuma acīs - ģēnija spožuma".
"Teātris": "Kā katru reizi šādos gadījumos kādas divas nedēļas es jautri svilpoju - neveiksme teātrī man katrā ziņā ir daudz stimulējošāka nekā panākumi. ... Un trīs piepūles, satraukuma, soļu trokšņa, pārdomu, īstenībā darba mēnešus pārvērst par neko pusotras stundas izrādē, tajā ir kaut kas varonīgs, traks, netaisnīgs, romantisks, īsi sakot, kaut kas tāds, kā dēļ, lai kas notiktu, es nepratīšu atteikties no kazino tāpat kā nepratīšu atteikties no teātra".
"Rūdolfs Nurejevs": "Bet, ja man būtu jāmeklē definīcija šim cilvēkam vai, precīzāk, jāatrod poza, kas manās acīs ir viņa definīcija, simboliska poza, es neatradīšu neko labāku par šo: puskails vīrietis baleta triko, vientuļš un skaists, pacēlies uz pirkstgaliem, ar piesardzīgu un sajūsminātu skatienu aplūko savas Mākslas atspulgu blāvā spogulī".
"Sentropē": "... tieši tāpat pirms nedēļas jaukā rītā Parīzē es piecēlos no gultas vai, drīzāk, tādā pašā rītā kā citi, kad līst lietus un līst atkal un atkal, kad garāmgājēji izskatās sataukti, vīlušies un izbijušies, rītā, kad pilsēta ir nogurusi un debesis atrodas kaut kur citur, rītā, kad es metos bēgt, kā esmu paradusi, - uz jūru, uz Sentropē. ... Un tomēr es jums par to izstāstīšu traģikomēdiju, kādu veidojušas, veido un veidos manas, bez šaubām, sentimentālās attiecības ar mierīgo ciemu Sentropē Vāras departamentā, un es jums to stāstīšu vairākos cēlienos, vairākās ainās, kuru skaitu iepriekš es nespēju paredzēt, jo atmiņai piemīt tikpat daudz trakulību un neparedzamību, cik izdomai. Es negarantēju nedz pilnīgu objektivitāti, nedz pilnīgu ticamību faktiem, kas sekos, varu garantēt tikai manu šodienas patiesumu. ... Sentropē ir pilsēta vai varbūt ciemats, kas izraisa sapņošanu, neprātu - maigu vai arī ne, katrā ziņā neko tādu - nepārprotami un tūlīt - neizraisa neviena cita vieta pasaulē".
"Mīlestības vēstule Žanam Polam Sartram": "Jūs esat sarakstījis savas paaudzes gudrākās un godīgākās grāmatas, Jūs pat uzrakstījāt vistalantīgāko franču literatūras darbu "Vārdi". Turklāt Jūs, galvu pieliecis, vienmēr esat meties glābt vājos un pazemotos, Jūs esat ticējis cilvēkiem, iemesliem, vispārējiem jēdzieniem, dažkārt Jūs esat maldījies (kā visi), bet (pretēji visiem) Jūs katru reizi esat to atzinis. Jūs spītīgi atteicāties no visiem Jūsu slavas morālajiem lauriem un materiālajiem labumiem. Jūs atteicāties no visnotaļ pagodinošās Nobela prēmijas laikā, kad Jums daudz kā trūka".
"Lasīšana": "Mīlestība uz literatūru manā atmiņu secībā ir pārāka par mīlestību uz cilvēku. ... Es ļoti labi zinu, kurā vietā es lasīju, kur es atklāju savas dzīves lielās grāmatas; un šeit es rakstīšu par savas dzīves ārējām ainavām, kas tik sarežģīti saistītas ar manām iekšējām ainavām. Galvenokārt tie ir manu pusaudža gadu iespaidi".
March 7, 2024
4.85⭐
This entire review has been hidden because of spoilers.
April 18, 2016
My kind of autobiographical stories - detailed, intelligent and challenging my own perspective!
September 7, 2019
Ak’ mana beznosacījumu mīlestība pret Sagānu! ♥️ Viņa ir brīnišķīga.
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June 20, 2024لم يشدّني ، او ببساطة لا يناسبني حالياً، ربّما أعود له في وقتٍ آخر..
October 30, 2022
Chiar cand puneam tag-ul de non-fictiune ma gandeam daca acest volum este non-fictiune sau nu. De ce? Pentru ca Sagan scrie niste amintiri (cica) si le scrie ca pe niste mici schite folosindu-se de tot talentul ei literar. Nimic din ce asterne pe hartie nu lasa impresia de nestudiat, de natural. Din contra, peste tot este vorba de stil. Totul pare sa fie literatura. Sau cum se spune acum Autofictiune.
Altfel, Sagan este tot ce ne imaginam ca ar trebui sa fie scriitorul francez. Tot ce face si ce spune este ceea ce ne inchipuim ca este esenta frantuzismului.
Altfel, Sagan este tot ce ne imaginam ca ar trebui sa fie scriitorul francez. Tot ce face si ce spune este ceea ce ne inchipuim ca este esenta frantuzismului.
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January 15, 2023للكاتبة قابلية ذكية على التركيز. بضع صفحات تغني عن عشرات. هكذا هي ساغان! اسلوب كتابتها لسيرة مختزلة عن حياتها جاءت بطريقة التركيز على تقاطع حياتها مع شخصيات واماكن وفعاليات وقراءات. نقلت القارئ إلى أجواء الستينيات والسبعينيات وبداية الثمانينات من القرن العشرين. كيف يختلف المبدعون؟ انهم يعيشون حيواتهم بكل عنفوانها، يجازفون بكل شئ، يعيشون التناقضات حولهم ثم يشخصوها في في أعمالهم ومن ثم يحترقون. أجمل الفصول هو الأخير الذي تبدؤه بحب الأدب.
ملاحظة قرأت للكاتبة سابقا روايتيها، صباح الخير ايها الحزن وفي شهر، في سنة.
ملاحظة قرأت للكاتبة سابقا روايتيها، صباح الخير ايها الحزن وفي شهر، في سنة.
July 25, 2025
"la littérature m'a toujours, depuis les 'Illuminations', donné cette impression qu'il y avait un incendie quelque part, partout, et qu'il me fallait l'éteindre"
i'd teach french lit in high school just so i could make my students read sagan's work and discuss it with them. that's how good she is
i'd teach french lit in high school just so i could make my students read sagan's work and discuss it with them. that's how good she is
December 2, 2023
(3,5/5) j’ai bcp aimé certains passages!!
April 18, 2018
Je me suis trompée de françoise ! Je me rappelais vaguement avoir été enchantée d'une série de "Journal d'une Parisienne" et j'ai cru que je venais d'en trouver un autre tome inconnu. Erreur. Depuis toujours et à ma grande honte, j'ai tendance à confondre les françoises dans ma tête : Françoise Sagan, Françoise Dolto, Françoise Giroud. Et c'était cette dernière que je cherchais.
Le livre en lui-même est bien : écrit avec cette plume et cette légèreté qu'a Sagan, il relate des souvenirs, des impressions, souvent cocasses et toujours sans honte. J'ai beaucoup ri au chapitre consacré à sa carrière théâtrale. Tout est bien raconté, c'est juste que... je m'en fiche un peu.
So it was the wrong book. I always confuse Sagan, Dolto and Giroud, just because they are Françoise, for shame. It is well-written, very funny and sensitive, I just... don't really care.
Le livre en lui-même est bien : écrit avec cette plume et cette légèreté qu'a Sagan, il relate des souvenirs, des impressions, souvent cocasses et toujours sans honte. J'ai beaucoup ri au chapitre consacré à sa carrière théâtrale. Tout est bien raconté, c'est juste que... je m'en fiche un peu.
So it was the wrong book. I always confuse Sagan, Dolto and Giroud, just because they are Françoise, for shame. It is well-written, very funny and sensitive, I just... don't really care.
October 24, 2025
výborný, vzpomínky (jasně že jo, co jinýho mě teď zajímá) na její gamblerství byly obzvlášť zábavný
April 22, 2025
Amazing
June 14, 2021
My first foray into Françoise Sagan, and I'm glad that I read this. This is a series of 10 literary essays, ranging from the time that she met (and met again with) Billie Holiday; her predilections for gambling and driving over the speed limit; and other encounters, including ruminations about friendships / relationships with Orson Wells and Jean-Paul Sartre. Highly observant of others, yet also philosophically poignant, Sagan brings readers into the world of France mid-20th century. Sometimes you get the sense that she's only showing off how she's able to rub elbows with celebrity, but at the end of each essay you realize that deep down she's interested in the human condition at its finest and its most wretched.
January 13, 2019
This book, originally published in 1984 in France, collects 10 magazine-like pieces. They contrast with Francois Sagan’s fiction, in which in even the most turbulent situations, her narrators tend toward ironic restraint. Here she tells about her enthusiasms, among them driving at high speed and gambling, and about people she admires, among them Billie Holiday and Jean Paul-Sartre. To borrow a phrase she uses to describe Rudolf Nureyev as she knew him socially, throughout her style has “a casual easy graciousness.” Especially interesting to me are her account of her early reading and its effect on her as a writer, and her account of her ventures into the theater.
October 7, 2025
« On mit quinze jours s'apercevoir que je dédicaçais mes livres « with all my sympathies », ce qui signifie en anglais « avec toutes mes condoléances » et non pas « toute la sympathie » que j'accordais généralement aux Français. »
« Les gens intelligents sont toujours gentils. »
« Sartre est né le 21 juin 1905, moi le 21 juin 1935, mais je ne pense pas - je n'en ai pas envie d'ailleurs -, je ne pense pas que je passerai encore trente ans sans lui sur cette planète. »
« Les gens intelligents sont toujours gentils. »
« Sartre est né le 21 juin 1905, moi le 21 juin 1935, mais je ne pense pas - je n'en ai pas envie d'ailleurs -, je ne pense pas que je passerai encore trente ans sans lui sur cette planète. »
February 28, 2023
Françoise Sagan a fost o scriitoare a cărei viață bate și filmul, și teatrul, și cartea, precum și orice alt cadru fictiv pe care ni l-am putea imagina. Pe Sagan o văd alături de Florence Nightingale și de Ioana d’Arc, de Jane Austen și de Nelly Bly, personalități feminine ce nu pot fi o născocire literară, ar fi fost lipsite de aproape orice fel de credibilitate, există totuși o limită până la care cititorul poate accepta fantasticul, astfel că toate aceste uluitoare femei nu puteau exista decât în realitate, singurul loc unde orice este permis.
Françoise Sagan, pe care Orson Welles și Tennessee Williams au vrut să o cunoască personal, pentru că nu aveau cum să creadă că o tânără de 18 ani ar putea scrie o carte precum “Bonjour tristesse”, undeva trebuia să existe o înșelătorie, o cacealma prin care elita literară din Franța încerca să epateze, și nimic altceva decât prezența ei fizică nu avea cum să îi convingă de contrariu.
Françoise Sagan, ființă strălucitoare și magnetică, pe care Catherine Deneuve și Jean-Louis Trintignant o urmau chiar și în proiecte artistice sortite eșecului, pentru că a nu fi parte din creațiile scriitoarei era o faptă de neconceput.
“Cele mai frumoase amintiri” este o carte scrisă de Françoise Sagan despre Françoise Sagan, o fată care într-o zi de 8 august, la ora 8 dimineața, a jucat la ruletă tot ce avea pe numărul 8 și a câștigat optzeci de mii de franci, cu care a reușit să-și cumpere casa la care se gândise… O carte despre Françoise Sagan, uluitoare scriitoare a Franței, care în clipele când scrisul unei cărți nu mai era deajuns, se urca în mașină și, zburând cu nebunească viteză, își juca viața pe o singură carte…
http://www.bucurestifm.ro/2023/02/28/...
Françoise Sagan, pe care Orson Welles și Tennessee Williams au vrut să o cunoască personal, pentru că nu aveau cum să creadă că o tânără de 18 ani ar putea scrie o carte precum “Bonjour tristesse”, undeva trebuia să existe o înșelătorie, o cacealma prin care elita literară din Franța încerca să epateze, și nimic altceva decât prezența ei fizică nu avea cum să îi convingă de contrariu.
Françoise Sagan, ființă strălucitoare și magnetică, pe care Catherine Deneuve și Jean-Louis Trintignant o urmau chiar și în proiecte artistice sortite eșecului, pentru că a nu fi parte din creațiile scriitoarei era o faptă de neconceput.
“Cele mai frumoase amintiri” este o carte scrisă de Françoise Sagan despre Françoise Sagan, o fată care într-o zi de 8 august, la ora 8 dimineața, a jucat la ruletă tot ce avea pe numărul 8 și a câștigat optzeci de mii de franci, cu care a reușit să-și cumpere casa la care se gândise… O carte despre Françoise Sagan, uluitoare scriitoare a Franței, care în clipele când scrisul unei cărți nu mai era deajuns, se urca în mașină și, zburând cu nebunească viteză, își juca viața pe o singură carte…
http://www.bucurestifm.ro/2023/02/28/...
May 18, 2020
https://www.litero-mania.com/francois...
„În 1984, Françoise Sagan a publicat, așadar, un mic și fermecător volum memorialistic (160 pagini), în care, spune ea, așterne pe hârtie amintirile sale cele mai frumoase și oamenii (celebri, de altfel) pe care i-a îndrăgit: „Avec mon meilleur souvenir” (Gallimard, 1984, reeditat în 1985, chiar anul morții lui Orson Welles), apărut și în românește cu titlul „Cele mai frumoase amintiri” (Nemira, 2009, traducere de Ion Doru Brana[1]). Urmând firul proustian al memoriei (nu degeaba și-a luat ea pseudonimul, Sagan, din opera lui Proust), Françoise Sagan nu rezistă tentației de a dezvălui secvențe din propria memorie (și biografie) – însă numai pe cele fericite, probabil și cele pe care le reține în mod special memoria (crede ea) – și mai ales de a realiza câteva portrete de neuitat, ale oamenilor pe care i-a cunoscut și admirat în viața ei tumultuoasă. Printre ei: Billie Holiday, Orson Welles, Jean-Paul Sartre, Carson McCullers, Rudolf Nureiev, Tennessee Williams. Iar printre portrete, strecoară detalii (picante) despre două mari pasiuni ale sale: jocurile de noroc și viteza (la volan).” (Adina Dinițoiu, „Françoise Sagan și Orson Welles”, Literomania nr. 159)
„În 1984, Françoise Sagan a publicat, așadar, un mic și fermecător volum memorialistic (160 pagini), în care, spune ea, așterne pe hârtie amintirile sale cele mai frumoase și oamenii (celebri, de altfel) pe care i-a îndrăgit: „Avec mon meilleur souvenir” (Gallimard, 1984, reeditat în 1985, chiar anul morții lui Orson Welles), apărut și în românește cu titlul „Cele mai frumoase amintiri” (Nemira, 2009, traducere de Ion Doru Brana[1]). Urmând firul proustian al memoriei (nu degeaba și-a luat ea pseudonimul, Sagan, din opera lui Proust), Françoise Sagan nu rezistă tentației de a dezvălui secvențe din propria memorie (și biografie) – însă numai pe cele fericite, probabil și cele pe care le reține în mod special memoria (crede ea) – și mai ales de a realiza câteva portrete de neuitat, ale oamenilor pe care i-a cunoscut și admirat în viața ei tumultuoasă. Printre ei: Billie Holiday, Orson Welles, Jean-Paul Sartre, Carson McCullers, Rudolf Nureiev, Tennessee Williams. Iar printre portrete, strecoară detalii (picante) despre două mari pasiuni ale sale: jocurile de noroc și viteza (la volan).” (Adina Dinițoiu, „Françoise Sagan și Orson Welles”, Literomania nr. 159)
February 2, 2023
الكتاب مش بطال لأنه بيعرفك على كُتاب وموسيقى مكنش يجي على بالي ان اسمعها زي أغاني Juliette Greco وBilly Holiday، الي يحب يقرأ عن الإصدارات الغربية الي أثرت في كتير من مثقفي فرنسا في الفترة دي فالكتاب داه يكون كويس..غير كدا معجبنيش. فرنسوا ساجان بتقول ان محدش هيفهم الفصل بتاع القمار غير المقامرين لكن حسيت قصدها محدش هيحكم عليهم، الغريب ان هي فقدت الكثير بسبب رغبتها دايما في فعل أي شيء في أي وقت بدون النظر للعواقب لدرجة انها ماتت مديونة بسبب القمار والادمان رغم ذلك معندهاش أي نده. بحسب المقالات الي قرأتها عن حياتها والكتاب دا فشهرة الكاتبة نفسها مبالغ فيها، خصوصا أن هي معلمتش أي حاجة تذكر مهمة بعد "مرحبا أيها الحزن" والفرص الي جتلها بعد كدا جت بسبب "الشلة" الأدبية أو الفنية، خصوصا ان الرواية دي طلعت في وقت الأدباء في فرنسا كانوا بيعيدوا النظر في "التقليدية" وعاوزين نوع من الأدب المتحرر، الي المراهقة ساجان طلعته في روايتها.
November 21, 2020
I have read this before, and I remember it did not impress me much, a bit pretentious I think as I rifle again through the pages, as if pressing your foot on the gas pedal or throwing money down in a casino is skillfull, those traditional manly things that Sagan took up, and who is it she’s aiming to impress? Which James Bond among us? Of course, she is learned, witty and does have stories to tell, which is why I am rereading what I have of hers before deciding to move these books towards someone else’s bookshelf.
November 7, 2023
I simply like the way in which Sagan writes and I particularly liked these stories from her life because they allowed me to get a glimpse of how she was. She was indeed a larger than life character, she liked fast cars, she gambled to the point of oblivion, she drank in excess, and her whole life seems to have been about parties, travels and not having a care in the world. She is also a master portraitist and unafraid to show her appreciation of others who looked to her as imposing figures, people she admired beyond words and who left an indelible mark on her own life.
January 27, 2022
مذكرات احد ادباء فرنسا في فترة الخمسينات و الستينات، قد تشعر بالملل في بعض اجزائها ولكن اكثر شيء اعجبني فيها هو صدقها مما يدل على تصالحها مع نفسها دون تجميل بالرغم من انك كشخص اذا حكمت عليها بمعايير اخلاقيه للمجتمع العربي ستجد انها حياة ماجنه لا تتفق مع ثقافتنا العربيه
من الفصول التي لفنت انتباهي هو الفثل الخاص بالقمار ، فاتضح لي من وصف حبها للعب القمار ان حياة المؤلفة مقامرة كبيره و رهانات ، وكيف لا وهي عاشت و جاورت الوجوديين في فرنسا
من الفصول التي لفنت انتباهي هو الفثل الخاص بالقمار ، فاتضح لي من وصف حبها للعب القمار ان حياة المؤلفة مقامرة كبيره و رهانات ، وكيف لا وهي عاشت و جاورت الوجوديين في فرنسا
July 31, 2021
A great book! Among other tidbits of her memories it gives you an interesting background to the writing and publishing of Bonjour Tristesse. She also shares memories of Billie Holiday, Orson Welles and others, as well as the old days in Saint Tropez, gambling and fast cars. (I read an English translation)
May 4, 2022
memoir written by françoise herself in which she narrates a few fun memories, people she hung out with, activities she loved and the books she once enjoyed. beautifully written, it felt like i was hearing the story firsthand. especially with 'the game' chapter where she narrates about casinos and how thrilling was betting, that was a fantastic story.
May 3, 2020
Petites chroniques sur des personnalités de son époque (Billie Holiday, Noureev) ou des thèmes associés (La vitesse, la lecture). Moins charmant que ses romans mais toujours le plaisir, au cours d'un paragraphe, de retrouver sa petite musique, le bon adjectif, le rythme léger qui sonne si bien.
August 3, 2022
no li poso un 5 de 5 perquè alguns capítols se m’han fet una mica llargs, de totes maneres, llegir sagan és sempre un gust i fer-ho en francès i llegint les seves historietes encara ho és més. je l’adore…💞lettre d’amour à jean-paul sartre ❤️🩹❤️🩹res a dir
February 2, 2023
I loved this. Francoise Sagan might be one of my new favorite authors. Her way of writing is so pretty and sentimental. The essay about Saint-Tropez made me sad and slightly more sympathetic towards the French's melancholy regarding the waning of sacred French culture
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